Theatre Quotes

By whatever means it is accomplished, the prime business of a play is to arouse the passions of its audience so that by the route of passion may be opened up new relationships between a man and men, and between men and Man. Drama is akin to the other inventions of man in that it ought to help us to know more, and not merely to spend our feelings.

A playwright is the litmus paper of the arts. He's got to be, because if he isn't working on the same wave length as the audience, no one would know what in hell he was talking about. He is a kind of psychic journalist, even when he's great.

I write for myself, and my goal is bringing that world and that experience of Black Americans to life on the stage and giving it a space there.

When I first started writing plays I couldn't write good dialogue because I didn't respect how black people talked. I thought that in order to make art out of their dialogue I had to change it, make it into something different. Once I learned to value and respect my characters, I could really hear them. I let them start talking.

Keep your hands moving. Writing is rewriting.

The fun for me is knowing what the other person is saying and what my character would be thinking at that time. On the stage you get the chance to do all that, to analyze and build a part, to react, to contribute something no one else can--not the author, not even the director.

You can throw away the privilege of acting, but that would be such a shame. The tribe has elected you to tell its story. You are the shaman/healer, that's what the storyteller is, and I think it's important for actors to appreciate that. Too often actors think it's all about them, when in reality it's all about the audience being able to recognize themselves in you.

But when I got to SMU and decided to take a playwriting class, I said this isn't a bad idea. If I write characters, they could be as dumb as me, and I don't have to be very smart.

Pray to God and say the lines.

The stage designer quickly learns that things are not always what they appear to be. A director who asks for 'more light' on an actor, probably doesn't mean that at all. Instead he really just wants 'to see the actor better'. The designer might chose to reduce the lighting contrast around the actor, or simply ask the actor to tip his head up a bit. Both solutions solve the problem without 'adding more light'. So the lighting designer also has to be a good listener, a careful interpreter and a skilled crafts person.

Stage lighting is no longer a matter of simple illumination as it was less than 100 years ago. Today, the lighting designer is expected to be a master of art, science, history, psychology, communications, politics, and sometimes even mind reading.

The first rule of stage lighting is...there aren't any.

Stage lighting is no longer a matter of simple illumination as it was less than 100 years ago. Today, the lighting designer is expected to be a master of art, science, history, psychology, communications, politics and sometimes even mind reading.

If no single reason can fully account for the lack of great work on Broadway these days, there is a factor in the discussion that is rarely mentioned but which has a bearing on what gets produced: the audience. . . It's not audience intelligence that has waned; it's audience passion -- the pro forma Broadway standing ovation now springs from duty not desire.... If that passion exists more in the audience for The Lord of the Rings than for contemporary Broadway musicals, well, at least it is alive somewhere. (2003)

Although the theater is not life, it is composed of fragments or imitations of life, and people on both sides of the footlight have to unite to make the fragments whole and the imitations genuine.

The "magic if" is a tool invented by Stanislavski, the father of acting craft, is to help an actor make appropriate choices. Essentially, the "magic if" refers to the answer to the question, "What would I do if I were this character in this situation?" Note that the question is not "What would I do if I were in this situation?" What you would do may be very different from what the character would do. Your job, based on your analysis of the script, the scene, and the given circumstances regarding the who of your character, is to decide what he or she would do.

Be daring, be different, be impractical; be anything that will assert integrity of purpose and imaginative vision against the play-it-safers, the creatures of the commonplace, the slaves of the ordinary. Routines have their purposes, but the merely routine is the hidden enemy of high art. [Advice to theatrical designers,]

I consider my ability to arouse enthusiasm among my people the greatest asset I possess, and the way to develop the best that is in a person is by appreciation and encouragement.

Never not dare to hang yourself. That's the only way you grow in your profession. You must continually attempt things that you think are beyond you, or you get into a complete rut.